Saturday, May 17, 2014

Focused on a director and his leading actress while they are off the
set. They discuss the discrepancies between film and digital cinema,
Western and Eastern food, and try to capture an unfiltered (and
seemingly impossible) sense of "reality" on film.

As a leader of the local community, Chairman Amin bans every kind of
image in his water-locked village in rural Bangladesh. He even goes on
to claim that imagination is also sinful since it gives one the license
to infiltrate into any prohibited territory. But change is a desperate
wind that is difficult to resist by shutting the window. The tension
between this traditional window and modern wind grows to such an extent
that it starts to leave a ripple effect on the lives of a group of
typically colorful, eccentric, and emotional people living in that
village. But at the very end of the film, Television, which he hated so
much, comes to the rescue and helps Chairman Amin reach a transcendental
state where he and his God are unified. A new twist to the story makes
him embrace IMAGE and IMAGINATION